April 29, 2006
April 28, 2006
Exposition Art contemporain > L'Empreinte
Exposition Art contemporain > France > Région Rhones Alpes > Lyon 69002
95 % Rouge
Galerie WM, Lyon
25 avril - 6 mai 2006
Exposition de gravures sur le thème du rouge qui regroupe dix membres de l’association d’artistes graveurs L'Empreinte : Burtin-Serraille, Crest, Danjou, Mangeot, Meiser, Paolillo, Jean-Marc Paubel, Savornin, Tisseyre, Trichelieu.
L'Empreinte est un groupe d'artistes pratiquant la gravure et les techniques de l'estampe. Réunis sous forme associative depuis 1995, les artistes de L'Empreinte multiplient les projets dans un esprit d'ouverture et de créativité. Le travail sur des thématiques communes est un des moteurs du groupe qui a produit des livres d'artistes sur le thème du fleuve, de la route, du bestiaire, et bientôt de la frontière. Deux échanges sont actuellement en cours : l'un avec des artistes brésiliens, sur le thème des hémisphères, l'autre avec l'atelier FGV d'Odense au Danemark.
Les manifestations organisées par L'Empreinte sont placées sous le signe de la gravure avec une optique d'ouverture. Les techniques les plus diverses et les moins conformistes de l'univers de l'estampe y sont représentées au même titre que les techniques traditionnelles.
Regroupés au sein d'une association communes, chaque artiste exposé à la galerie WM à Lyon a sa forme d'expression artistique bien distincte. Outre L'Empreinte, la couleur rouge est le lien entre chaque artiste. Un ensemble de gravures est proposé dans le cadre de l'exposition.
29, rue Vaubecour
Association d'artistes graveurs
40, rue St Michel
April 13, 2006
April 2, 2006
DANIEL JOSEPH MARTINEZ
How I Fell In Love With My Dirty Bomb
(Opium des Volks)
FLESH EATING PROSTHETIC
(Phagocitage des prostheses)
© 2006, Daniel Joseph MARTINEZ / Courtesy LAXART
LAXART a new nonprofit contemporary arts organization founded on 2005 and located at 2640 S. La Cienega Los Angeles in a new space designed by LA based architect Peter Zellner. Its inaugural exhibition features new work by Los Angeles based artist DANIEL JOSEPH MARTINEZ who launches the new space with a series of site-specific interventions including a text painted on the façade of the building, video, photography and sculpture.
Daniel Joseph Martinez has been instrumental in informing discourses on identity in America through the vehicle of painting, video, sculpture and public works. Martinezs recent work negotiates politics and poetics, largely through the lens of minimalism. His proposed multimedia project for LAXART speaks to empire, modernism and difference, yet is rooted in a highly formal language, which examines vulgarity, beauty and the sublime. Daniel Joseph Martinez brings to bear imperative questions about the palatability of politics through formalism.
Daniel Joseph Martinez has articulated his interest in painting, mutation, indigestibility, incongruity, modernist tropes and contradictory politics. He has defined his approach to the exhibition as one of social relevance and responsibility. The artist creates a site-specific text-based work to be painted on the façade of the building with an accompanying neighboring billboard. Martinezs signage stems from both appropriated and composed texts that function in a slippery space between propaganda, advertising and protest.
© 2006, Daniel Joseph MARTINEZ / Courtesy LAXART
Pictures from D.J. Martinez’s Video: Hollow Men, 2006.
In dialogue with the skin of the space, Daniel Joseph Martinezs work will inhabit both the main and project galleries of LAXART. A new video projection entitled Hollow Men represents a meditation on the artists mantra that mutation is the most radical ideology. The video features a repetitious gesture of the artists hands flipping the pages of a monochromatic picture book imaging a police raid. Deficient of any index of geo-political specificity, time and place is abstract and the event represented becomes generic. Performed time and again, the artists hands alter into monstrous prosthesis.
In addition, Daniel J. Martinez produces two new photographic works in the context of the LAXART installation, using iconic photographs from both the 1972 Munich Olympics and 1968 Mexico City Olympics as watershed events. Focusing on the modernist architecture of the iconic Black September image, Daniel Joseph Martinez abstracts space, subjectivity, politics and history. The project rehearses Martinezs tendency to appropriate modernist tropes in order to contaminate them, creating a rupture of both meaning and context.
LAXART’s inaugural exhibition is made possible with generous support from Linda Pace, Peter Norton Family Foundation, American Center Foundation, Danielson Foundation, E-flux, Art Papers, X-tra and InterReview.
2640 S. La Cienega
Los Angeles, CA 90034
Tuesday - Saturday
11am – 6pm
March 18 - April 29, 2006
April 1, 2006
© Weegee. Courtesy HOST Gallery
‘I have no inhibitions and neither has my camera...’ –WEEGEE
Weegee (Arthur Fellig) documented the nightscape of New York with a zeal and intimacy never seen before or since. With a large-format Speed Graphic camera and piercing flash bulb his photographs recorded tenement infernos, car crashes and gangland executions. Specialising in the night shift between 10pm and 5am, he was famed for being the first to arrive at a crime scene – sometimes even before the police.
Weegee also captured the personal stories of the city’s immigrant and working class communities – their life and death stories played out on the streets of New York. He found washed up singers, late-night voyeurs and teenage murder suspects and photographed them ‘at their most human’, as he put it. His flash-lit photographs pierced the darkness of night, revealing the city in all its sordid glory.
Weegee’s photography defined New York City in the 1930s and 40s and 50s: its streets, bars and tenement blocks. His images of everyday people provide us a glimpse into the unseen. It is not hard to see why this photographer is today credited with ushering in the age of tabloid photography where private stories from the street become tomorrow’s front page splash. Developing film in the boot of his car and delivering his photographs to the newspaper picture desks put him squarely in the realm of press photography, yet after the decades that have passed these photographs have transcended reportage and come to define an age.
HOST gallery is collaborating with Side Gallery, Newcastle to bring this rare and authoritative collection of Weegee prints to HOST, many of which have not been shown before in London.
The exhibition is shown in conjunction with an exhibition of Juan Medina’s Cruel Sea at HOST.
WEEGEE, PHOTOGRAPHS 1935 –1960
12 April – 7 May 2006
1 Honduras Street
Opening times: Monday—Friday 10am—6pm or by appointment at other times.
Nearest tubes: Old Street, Barbican. Buses: 55, 243
Moscow Girls and other stories
Exhibition at Haus am Waldsee, Berlin
Moscow Girls and other stories is a solo show of photographs and video works by the artist Melanie Manchot. Through her large-scale installations the conceptual artist initiates a dialogue between Moscow and Berlin, developing a cultural exchange on the basis of storytelling. For the work Moscow Girls Melanie Manchot asked young women from Moscow to tell a personal story that takes place during the historical changes of the 1990s. The photographs are supplemented by the acoustic narrations to which visitors can listen via headphones.
Oral history plays an equally central role in the seven-channel video installation Hotel Moscow. This work reanimates the luxury hotel that was commissioned by Stalin in the mid-1930s. As he mistakenly had signed blueprints by two different architects, the hotel was rigorously constructed in two halves. The old-established hotel has been pulled down in 2004. In Melanie Manchot’s work its history is reconstructed through the varying memories of contemporaries.
Groups and Locations (Moscow) continues the investigation of individuals and their local contexts. For this series of large-scale colour photographs Melanie Manchot has invited random passersby to pose for a spontaneous group portrait at historic sites in and around Moscow. The collected group, staring focused in the camera, is also a statement on the current assembly ban at locations of political importance.
The show “Moscow Girls and other stories” is intended to occupy all of Haus am Waldsee’s 400 square meters of exhibition space. It is complemented by works that have been completed in Berlin not until spring 2006.
MELANIE MANCHOT was born in 1966. She studied at New York University and at City University of London and graduated in 1992 with a Master of Photography at London’s Royal College of Art. Since then her work has been awarded international prizes and forms part of several private and public collections. It has been shown in numerous exhibitions worldwide, for example at the Photographers Gallery (London), the MIT List Visual Art Centre (Boston), the Hasselblad Center in Gothenburg and the 1st Moscow Biennale. Manchot achieved first international attention through her photo series „look at you loving me“ (1998). In sensual portraits of her mother as a nude, Manchot confronts the aging body with the media-made myth of beauty as permanent youth.
The exhibition “Moscow Girls and other stories” at Berlin’s Haus am Waldsee presents the first large solo exhibition of Melanie Manchot’s work in Germany.
A catalogue accompanying the exhibition is available (60 pages, 10 €).
Curator: Dr. Katja Blomberg, art director Haus am Waldsee